"Meat-eaters fearing an aggressive, PETA-approved doc with shots of slaughterhouses and abuse shouldn’t be wary of this largely gentle film. The acoustic-guitar-based score from Richard Linklater favorite Graham Reynolds only emphasizes its homeyness and simplicity. However, a shot of a piglet getting its tail clipped without anesthesia had me squealing. But for the most part, Papola and his team have crafted a movie that feels at once polished and authentic. The interviews with farmers feel refreshingly honest, and there’s vulnerability in the interactions between the married filmmakers. The eye of 'Cartel Land' cinematographer Matt Porwoll beautifully captures farmland from above, as well as reflecting the lives of the individual animals featured on screen. Papola and Versaci co-founded digital ad agency Emergent Order, so it’s ultimately unsurprising to see that the film was made in partnership with both Whole Foods and the Humane Society. But the documentary balances access and likely funding with its own mission, refraining from feeling like a feature-length ad for either company."

Kimber Myers, The Playlist

THE FUNDAMENTALS OF CARING - Ryan Miller

"Despite the pic’s Western setting, lensing was completed in Georgia at the beginning of 2014. Tech credits are adequate, with Giles Nuttgens’ widescreen compositions transitioning nicely between conversational two-shots and scenic landscapes, while Ryan Miller’s bouncy score provides the expected emotional cues."

Geoff Berkshire, Variety

SEPTEMBERS OF SHIRAZ - Mark Isham

"It’s anyone’s guess why the producers (including Gerard Butler) thought Blair, of the feel-good pop musical 'The Sapphires' and various Australian TV episodes, would be a good choice here. In any case, he shows no particular affinity for suspense, either psychological or physical (the torture sequences should pack a lot more punch). A routine thriller tenor throughout is underlined by undistinguished visual presentation, with d.p. Warwick Thornton sticking to the already exhausted gambit of handheld camera with extra palsy for pseudo-documentary 'realism,' plus a banal score of de rigeur Dolby heart thumps, urgent synth strings and vague 'exotic' motifs by Mark Isham, who can do better and should have."

Dennis Harvey, Variety

"These contrived symmetries, and the patness of the final endgame which desperately tries to extract tension from a perfectly predictable outcome, wouldn't grate so much if the film weren't so marred by so many poor choices. Director Blair, who demonstrated an effortless flair for comedy with his debut 'The Sapphires,' appears determined to prove he can handle dramatic, high-toned material by draining every ounce of humor from the film. In a similar vein, someone appears to have decided that twitching the camera about nervously would be a surefire guarantee of immediacy or authenticity, and that it would add menace or something to have so many set-ups filmed with bead curtains or windows in the way. Mark Isham's bombastic score is relentlessly on the nose."